PDA

View Full Version : devAnAm nagarI



sarabhanga
11 November 2007, 03:47 AM
As the father of creatures (gods, men, and all living beings), kashyapa is the prajApati who is borne with seven kashA (rays/reins) of light. These seven celestial fires are the seven dei of creation, the saptamAtRkA (seven mothers), whose strengths combine in kAlI, the shakti that dances across the dark framework of kAla (time).

Brilliant sUrya (sun), the source of all illumination, is brAhmI, the goddess of knowledge, who is the shakti of brahman. Ruddy maÑgala (mars) is mAheshvarI, the shakti of shiva. Luminous shukra (venus) is kaumArI, the virgin goddess, the shakti of skanda. Fleet-footed budha (mercury) is vaiSNavI, the shakti of viSNu. bRhaspati (jupiter) is vArAhI, the shakti of varAha, and the guru of shrIvidyA. Dark shani (saturn) is indrANI, the shakti of indra. And soma (moon), the shakti of yama, is known as cAmuNDA (and yogeshvarI).

Subsequent devolution of creation proceeds through the interaction of the temporal rays peculiar to each of the saptamAtRkA (the seven spectral shades) along with the five subtle principles and the three essential qualities. And fifty nodes in the fabric of creation resound with their own particular color or timbre (varNa).

Reality crystallizes with the dawning of language, and saMskRta is expressed through the fifty fundamental phonemes that together constitute devanAgari (devAnAm nagarI ~ city of the gods). And each varNa is represented by a mAtRkA (image of the mother).

Not made explicit, but resonating silently in the void and inspiring the entire sonic edifice, is the aspirate ‘emission’, visarga, the sixteenth vowel whose nature is beyond AkAsha. And the first varNa (akAra) arises from vAyu.

sUrya is the Atman of devanAgari (suvarga or svarga), comprising the vowel sounds (svara) of avarga. soma is mAnasa, supported by the sibilant USman of shavarga and distinguishing the semi-vowels (antaHstha) of yavarga. And between these lies the body of sparsha (consonants or stops).

The guttural (kaNThya) stops of kavarga are generated by maÑgala; shukra provides the tAlavya (palatals) of cavarga; budha inspires the mUrdhanya (cerebrals or linguals) of Tavarga; bRhaspati gives the dantya (dentals) of tavarga; and shani, the oSThya (labials) of pavarga.

sarabhanga
11 November 2007, 09:51 PM
The mysterious eighth mAtRkA is known as yogeshvarI, the occult shakti of eclipse (rAhu). Through long effort, the great yogin succeeds in uniting the sun and the moon, and tastes the amRta (nectar) of perfect illumination.

cAmuNDA is said to have slain the asurau (dark lights twain), caNDa and muNDa. The two heads that she carries are the ‘nodes of the moon’, the points of shadow whose conjunction with the ecliptic are responsible for both solar and lunar eclipse. The nodes engulf the light of savitR, swallowing the amRta soma of avarga. And such temporary withholding of amRta from kuNDalinI, and the redirection of amRta into the yogin’s own mouth (by khecarI mudrA), is essential to the method of haThayoga (forceful union).

rAhu is indeed yogesha, although it is said that for his presumption in stealing a sip of amRta, the nectar of immortality, rAhu was decapitated. His head is the north node, equivalent with cAmuNDA’s defeated enemy caNDa (fierce), whose name is both an epithet of sUrya and homonym of canda (moon). And when the sun and the moon coincide, the result is solar eclipse, or rAhu. His lifeless body, the south node, equates with muNDa (lopped) and is known as ketu, the ‘banner’ of spiritual success.

Thus, yogeshvarI is divided between rAhu, as the shakti of fierce nArasiMha (the man-lion who retains his mortal body while his head adopts the fiery countenance of durgA’s solar vehicle; the guardian of shavarga), and ketu, as the female ascetic (muNDA) shivadhUtI (servant of shiva), the keeper of the ultimate phonemes: the dIrgha duHspRSTa (La) and dyuksha (ksha).

Creative light and consuming time are both projected from the vortex of the mAtRkAcakra, ripening the fruit of creation. And their subtle difference is recognized in the coördinate aspects of durgA, the light of light (shrI), and kAlI, the dark of time (kAlarAtrI).

The transcendent tenth mAtRkA, the visarga, is victorious durgA; and her creative period is the navarAtrika (nine nights), the nine moons of gestation, which are illumined by the navadurgA (brahmANI, mAheshvarI, kaumArI, vaiSNavI, vArAhI, aindrI, cAmuDNA, nArasiMhI, and shivadhUtI), the auspicious lights of the navagrAhI (sUrya, maÑgala, shukra, budha, bRhaspati, shani, soma, rAhu, and ketu). And knowledge of these ten mothers is mahAvidyA.

The temporal shakti of sUrya is bright, pleasant bhuvaneshI, who sustains devanAgari with her ample flow of milky amRta (the sixteen vowels of avarga); that of maÑgala is bhairavI, the red shakti of bhairava (rudra-shiva); shukra radiates the lovely, golden lotus of kAmAkhyA; budha is the pale widow dhUminI; bRhaspati (guru) is the passionate girl of sixteen called tripurA (the triple city of shrIvidyA’s SoDashI mantra); shani is black, drunken mAtaÑgI; the waxing moon is ‘good mother’ ambikA, and waning she is the dark tArA (release); rAhu is vagalA, the crooked-faced yoginI who performs the kAkI (crow) mudrA and lengthens the tongue in preparation for khecarI (cloud roaming); ketu is the ‘node of the moon’ responsible for lunar eclipse, and is known as pracaNDacaNDikA, or chinnamastakA, who lops her own head to experience her rasa; and the tenth is mahAkAlI.

The series of varNa expressed by each mAtRkA are the radiant petals of a padma (lotus) that matures to release the seeds of creation. The fully developed bIja (seed) of each infinitely resounding varNa is cut off with the anusvAra (after sound), the trailing nasal fifteenth vowel.

Nuno Matos
12 November 2007, 01:39 PM
Namaste Sarabhanga Giri


Excellent post, Sri Sarabhanga. Very beautiful and full of esoteric knowledge.
" And such temporary withholding of amRta from kuNDalinI, and the redirection of amRta into the yogin’s own mouth (by khecarI mudrA), is essential to the method of haThayoga (forceful union)."

Now I humbly would like to ask you for some help :confused: why is the amRta directed to the yogin's own mouth away from Kundalini? Is it to break the cycle of identification with the mortal frame i.e. the body ( the mAtRkAs ). Or is it to give the body trancendental power ( magical divine power)? In order to boost illumination.
Thank you.

Hara! Hara! Mahadeva!

sarabhanga
26 November 2007, 12:45 AM
"And such temporary withholding of amRta from kuNDalinI, and the redirection of amRta into the yogin’s own mouth (by khecarI mudrA), is essential to the method of haThayoga (forceful union)."

Why is the amRta directed to the yogin's own mouth away from Kundalini? Is it to break the cycle of identification with the mortal frame, i.e. the body (the mAtRkAs)? Or is it to give the body trancendental power (magical divine power), in order to boost illumination?

Namaste Nuno,

All of the above!

The venom of sleeping kundalini is fed by the soma that falls from sahasrara cakra, and the khecari mudra is applied to awaken the sleeping kundalini and to force her upwards to unite with the source. Khecari is “flying upwards” and, simultaneous with kundalini’s rising, the siddha yogin in samadhi (tasting the immortal nectar of soma, and defying the poisonous essence of mortal life) gains the sky-roaming power of flight.

sarabhanga
28 November 2007, 12:49 AM
Some general correspondences:

I ~ sUrya ~ red ~ avarga ~ brAhmANI ~ bhuvaneshI
II ~ maÑgala ~ orange ~ kavarga ~ mAheshvarI ~ bhairavI
III ~ shukra ~ yellow ~ cavarga ~ kaumArI ~ kAmAkhyA
IV ~ budha ~ green ~ Tavarga ~ vaiSNavI ~ dhUminI
V ~ bRhaspati ~ blue ~ tavarga ~ vArAhI ~ tripurA
VI ~ shani ~ indigo (or black) ~ pavarga ~ indrANI ~ mAtaÑgI
VII ~ soma ~ white (or black) ~ yavarga ~ cAmuNDA ~ ambikA or tArA
VIII ~ rAhu ~ violet ~ shavarga ~ nArasiMhI ~ vagalA
IX ~ ketu ~ smoke ~ La and ksha ~ shivadhUtI ~ chinnamastA
X ~ AkAsha ~ crystal ~ visarga ~ durgA ~ kAlI

sarabhanga
28 November 2007, 07:37 PM
The solar lotus radiates the fourteen svarAH (seven svarau) of avarga (from a to au, in pairs), followed by the anusvAra (M). And from above, the visarga casts its own fruition into the still ocean of the void; and that bIja is haM (“I”), the first creative moment. The vortex, from aM to haM, resolves into ahaM (“I am”), the first affirmation of existence, issuing from the throat of puruSa (cosmic man). And visarga is the exhalation of divine consciousness and of living beings, the prANashakti.

haMsa indicates a goose, gander, swan, flamingo (or other aquatic bird), considered as a bird of passage, said to be able to separate soma (or milk) from water, when these two fluids are mixed.

haMsa is the ajapa mantra, the soul or spirit (typified by the pure white color, and migratory habits), the vehicle of the ashvinau, and of brahmA. And haMsa is the universal soul or supreme spirit, identified with the sun.

The haMsa is both the universal and the individual spirit ~ as ahaM sa (“I am that”).

On the haMsa bIja (http://www.hindudharmaforums.com/showpost.php?p=17507&postcount=4)
On the haMsa mantra (http://www.hindudharmaforums.com/showpost.php?p=13445&postcount=123)

And we are all moving towards the constellation of cygnus (the haMsa), which apparently orbits about 45 degrees away from the northern celestial pole. ;)

On the great celestial shiva liÑga (http://www.hindudharmaforums.com/showpost.php?p=14286&postcount=7)

sarabhanga
30 November 2007, 01:42 AM
As the svara emission proceeds from avarNa (A), its various qualities are distinguished:
A (sattva), I (rajas), and U (tamas), which recombine to fashion seven svara mAtRkA (a-A, e-ai, i-I, R-RR, L-LL, u-U, o-au).

The primary shakti of time is seen in the trikoNa of AM, IM, and UM, which forms the operative yantra (apparatus) of kAlI. And internal reflexion generates the diphthongs at intermediate points, framing an inverse trikoNa and revealing the six-fold nature of kAla.

It is the cakra of bhuvaneshI, which determines six seasons and twelve months. The dawn of this creative cycle is seen in the east, at the time of winter solstice, proceeding clock-wise through the six fields of kAla that season the year with their own blend of varNa; and each season is spanned by two arms, providing twelve calendric sectors. And all of this is comprehended by mahAkAla (who is beyond time).

sarabhanga
30 November 2007, 08:04 PM
It is the cakra of bhuvaneshI, which determines six seasons and twelve months. The dawn of this creative cycle is seen in the east, at the time of winter solstice, proceeding clock-wise through the six fields of kAla that season the year with their own blend of varNa; and each season is spanned by two arms, providing twelve calendric sectors. And all of this is comprehended by mahAkAla (who is beyond time).

And this bhuvaneshvarI yantra, the solar cakra of svarga, is clarified in the attached image.

sarabhanga
01 December 2007, 12:20 AM
The passage of Time is reckoned by the changing positions of the Sun, the Moon, and five planets, whose regular motions animate the otherwise timeless background of the heavens. The Atharva Veda rose from the unfathomed darkness of Varuna, and it resonates with the transcendent glory of Kala.


Time, the steed, runs with seven reins (rays), thousand-eyed, ageless, rich in seed.
The seers, thinking holy thoughts, mount him; all the worlds are his wheels.
With seven wheels does this Time ride, seven naves has he, immortality is his axle.
He carries hither all these beings. Time, the first god, now hastens onward.
He surely did bring hither all the beings; he surely did encompass all the worlds.
Being their father, he became their son; there is, verily, no other force, higher than he.
Time begot yonder heaven; Time also begot these earths.
That which was, and that which shall be, urged forth by Time, spreads out.
Time created the earth; in Time the sun burns.
In Time are all beings; in Time the eye looks abroad.
In Time mind is fixed; in Time breath is fixed; in Time names are fixed.
When Time has arrived, all these creatures rejoice.
In Time Tapas is fixed; in Time the highest being is fixed; in Time Brahma is fixed.
Time is the lord of everything; he was the father of Prajapati.
By him this universe was urged forth; by him it was begotten; and upon him it was founded.
Time, truly, having become the Brahma, supports the highest lord.
Time created the creatures (Praja); and Time in the beginning created Prajapati.
The self-existing Kashyapa and the Tapas, from Time were born.

http://www.geocities.com/sarabhanga/Saptamatrika.jpg

sarabhanga
02 December 2007, 04:53 PM
The crown of the solar calendar is the first dewy season of shishira, whose birth is said to be signaled by sUrya’s conjunction with the constellation of makara. At present, however, the first day of mAgha (as the sun enters makara) is the 14th of january, while the solstice occurs twenty-four days earlier. This discrepancy is due to the earth’s precession, and such a rotation would require about 1700 years to accumulate.

The twelve moons of this calendar are the chaldean zodiac, which was adopted in around 283 AD ~ and I assume that the mAgha mela at prayAga was established at about the same time by mahArAjAdhirAja (great king of kings) candragupta, whose modest empire extended (in about 320 AD) across the plains from pATaliputra to prayAga.